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BULLETIN
although not every enamel bears them.23 What is noteworthy here is
that among the marks which have been published those on our four
plaques, (plaques otherwise demonstrably close to one another), are
identical, for each is engraved with a fretted circle open at the bottom
(fig. 10)".24
In view of the spectacular verisimilitude of the style as well as the
marks of three of these — the Oberlin, Plandiura and Metropolitan
Museum examples, it is not too much to suggest that they originated
in the same shop, where they were drawn from the same modello, perhaps a drawing (?) retained in the workshop for this purpose.25 For
what use the marks were put on the plaques remains open to conjecture,
but the suggestion has been made, and supported with some good evidence, that they were marks to aid the Limoges assembler in fixing the
plaque in its proper place, and right side up, on the wooden core to
which it was originally nailed, a conclusion which presupposes quantity
production and a division of labor in the process.2"
23 Stohlman, loc. cit., p. 14; also, W. F. Stohlman "Quantity Production of
Limoges Champleve Enamels", Art Bulletin, 17 (1935) pp. 390-94; also see
above, and footnote 16.
24 The corresponding marks on the other three are illustrated by Stohlman, loc. cit.,
figs. 2, 3, 6.
25 I do not see adequate grounds for believing that this implies the same hand at
work on all three.
26 Stohlman, "Quantity production . . .", loc. cit., passim.
108

A Fragonard Drawing; A Portrait of General Kosciusko by Benjamin West; Preliminary Notes on Three Early Limoges Enamels at Oberlin; Robert Motherwell; Announcements of General Interest; Loans; Catalogue of Recent Additions; Museum Calendar, Spring-Fall 1952

BULLETIN
although not every enamel bears them.23 What is noteworthy here is
that among the marks which have been published those on our four
plaques, (plaques otherwise demonstrably close to one another), are
identical, for each is engraved with a fretted circle open at the bottom
(fig. 10)".24
In view of the spectacular verisimilitude of the style as well as the
marks of three of these — the Oberlin, Plandiura and Metropolitan
Museum examples, it is not too much to suggest that they originated
in the same shop, where they were drawn from the same modello, perhaps a drawing (?) retained in the workshop for this purpose.25 For
what use the marks were put on the plaques remains open to conjecture,
but the suggestion has been made, and supported with some good evidence, that they were marks to aid the Limoges assembler in fixing the
plaque in its proper place, and right side up, on the wooden core to
which it was originally nailed, a conclusion which presupposes quantity
production and a division of labor in the process.2"
23 Stohlman, loc. cit., p. 14; also, W. F. Stohlman "Quantity Production of
Limoges Champleve Enamels", Art Bulletin, 17 (1935) pp. 390-94; also see
above, and footnote 16.
24 The corresponding marks on the other three are illustrated by Stohlman, loc. cit.,
figs. 2, 3, 6.
25 I do not see adequate grounds for believing that this implies the same hand at
work on all three.
26 Stohlman, "Quantity production . . .", loc. cit., passim.
108

Identifier

AMAM_Bulletin_009_003_0042.tif

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